A large pale peach housecoat/robe embroidered with blue and pink flowers and foliage on the wide fluted cuffs (marks on left cuff) and large floral motifs on the whole, rope cord belt, turned-back collar, mid 1930s/40s. A 1940s cream satin nightdress with a V-neck bodice with turned-back design edged in deep pink trimming and wide lower bodice with a pink floral rose. A purple satin floral Chinese design robe with a zip and press stud side opening; the floral design is of apple blossom and pink, mauve and lemon flowers in the Chinese style, padded shoulders, capped sleeves, 1960/70, made in China by the Linva label. A decorative housecoat in pale pink satin with a large white floral lotus flower design, low neckline with pom-pom and edged in white fur, as are the sleeves slit up to the elbow and elasticated waistline, 1940. A dusky pink late 1930s reversible cape with a gathered and very high stand-up collar, with the initials MTP, the main side is black velvet. A shocking pink evening or bridesmaid's dress with shoulders and wide central bodice embossed in a diamond-shaped pattern, low v-neck, short puffed sleeves. A cream velvet cape ruched and gathered into a cape design cut on the bias with ostrich feather edging, early 1930s. (7)
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A 1940s white rabbit fur stole. A faux fur white /spotted collar/tippet and a dark brown fur tippet, 1950. A tulle decorative piece of fabric (some holes in tulle). A baby's embroidered nightgown (1950). A baby's wool shawl. A baby's button-up nightrobe. A cream summer-weight baby's coat in pleated design with a matching bonnet, early 1950. A cream brocade lady's cape with a Neru collar, early 1950s (discoloured on the inside). A pair of size 2 baby's slippers in lemon, quilted with white fur detail. A 1950 cream and gold evening dress with panier on the side, the cream fabric is decorated with gold in a harlequin pattern, early 1950s, metal zip.
A black Victorian mourning bodice c.1890s encrusted with jet beadwork and sequins, boned, high neck also embellished with jet as are the sleeves, hook & eye fastenings, the back has three decorative pin tucks, bombazine fabric. A Victorian mourning mantle c. 1880/90s embellished with jet beadwork, jet tassels on the shoulders, fall into a pointed shape. A late Victorian velvet mourning cape with lace decoration, princess pleated chiffon around the collar, decorated with floral cord trim, the front has two long panels of lace. (3)
A late Victorian/early Edwardian mourning cape with large jet beading on a fishnet lace, the neckline and edges are frilled with black tulle, cream lining, hook & eye fastenings at neck. A heavily embellished mourning cape with braid work design, tassels, bugle beads in jet, with a lace frill at neckline, sateen fabric. A late Victorian boned bodice in a woven embossed fabric, decorated with jet and metal beads, pleated fabric, the shoulders have a scalloped design. (3)
A mid 1930s pale cream taffeta wedding dress with a fitted tulle bodice, round neckline and full length tulle sleeves with princess pleated cuffs and finished with a frill and beadwork. The bodice is decorated with small pearl beads in in a leaf design and is carried around to the back of the dress, the skirt is cut on the bias and falls into a train. A separate cape is decorated with applique onto tulle and matches the dress, also includes original pink velvet hangers. A cream muslin gunne sax by Jessica of San Francisco with lacing on the bodice, a high round neckline falling from a point at the back, full length sleeves in lace, hemline has a deep frill lace panel (1960s/70s), also includes wedding good luck charms such as horse shoes etc. A 1970s nylon wedding dress with high neck and in-built structured cape covering the back, full length sleeves and full skirt. (3)
Thomas Luny (British, 1759-1837)Jervis's victory off Cape St Vincent on Valentine's Day 1797 indistinctly signed and dated '1797' (lower left)oil on canvas57.1 x 86.7cm (22 1/2 x 34 1/8in).Footnotes:ProvenanceWith The Parker Gallery, London. For further information on this lot please visit Bonhams.com
An SS Officer Cape Eagle Silver-aluminum hand-embroidered eagle with silver-aluminum thread accents, black backing, SS/RZM tag on reverse. Width ca. 12.5cm.USA-Los – weitere Infos hier An SS Officer Cape Eagle An SS Officer Cape Eagle Silver-aluminum hand-embroidered eagle with silver-aluminum thread accents, black backing, SS/RZM tag on reverse. Width ca. 12.5cm.USA lot - more info hereCondition: II
BATTLE OF TRAFALGAR INTEREST: Three autographed letters from Thomas Reynolds the assistant surgeon on board HMS Ajax at the battle of Trafalgar, the letters dated 18th of April, 17th June and 12th September 1805, in the run up to action at Cape Finisterre and Trafalgar, all addressed to Thomas Gillespy, a friend and likely a marine merchant, each c.22cm x 18.5cmHMS AJax at the time of these letters had been sent with the ships Malta and Terrible to reinforce Sir Robert Calder’s squadron off Ferrol. The first letter bears a postscript: "This letter has been wrote a fortnight to be ready for the next ship. Malta & Terrible have joined our squadron.” The second letter is written in the runup to Calder’s action at Cape Finisterre:“I really wish the enemy would do something that our squadron might be detached to some other station I think quite sufficient. Should they make any attempt at running (for I think they would not fight us being reinforced ? & now by 2, 3 deckers & a 74). I am a ? it would be a chase to the Indies either East or West. I should rather it were the former nut I trust should such an event take place they will be brought to action too early for them to do as much mischief like the Rochefort ships... Sir Robt Calder observes his orders are so strict respecting the blockade of this place that he could not follow them” Ajax joined Calder’s Squadron which on July 22nd engaged and defeated a French Squadron under Villeneuve. However, Calder did not press his home advantage, allowing Villeneuve to escape. The Ajax put in for repairs at Plymouth and on September 18th sailed with Nelson for Cadiz. In the third letter, written 12th September 1805, Reynolds writes: “We are going foreign with Ad. Lord Nelson”.Provenance: Purchased from Stephen Rench, bookseller, 23rd April 2016.Note: Thomas Reynolds, age unknown, an assistant surgeon, joined HMS Ajax on 21st July 1804. He was on board on 21st October 1805 during the Battle of Trafalgar, and was awarded prize money of £10. 14s. 2d. He was one of 250 crewmen killed on 14th February 1807 when HMS Ajax caught fire off Tenedos, under the command of Henry Blackwood.
SAMUEL DANIELL (BRITISH 1775-1811) THE PICO FORT, FUNCHAL, MADEIRA Watercolour and heightened with scratching out and gum arabic With pencil sketch verso 39.8 x 41.9cm (15½ x 16¼ in.) Provenance: Bill Thomson, Albany Gallery Martin Speed Ltd Samuel Daniell was the younger brother of William Daniell (1769-1837) and nephew of Thomas. On 5th September 1799 Samuel set off for South Africa, on board HMS Lancaster, in the suite of Sir George Yonge, Governor and Commander-in-Chief of the region. They stopped at Madeira, leaving Funchal on 11th October and arriving at the Cape of Good Hope on 10th December. He returned to England in 1803 and immediately began work on publishing his celebrated African Scenery and Animals. In 1806 he set off once more, this time, for Ceylon (now Sri Lanka), where he remained until his early death in 1811. The Pico, or St John the Baptist Fort was built in the early 17th Century on the hills above Funchal and is one of the key landmarks of the Island. It was built to form part of Madeira's defence system against frequent attacks by the Corsairs. A print after Daniell of Funchal from the sea is dated 1806. Another view of Funchal by Daniell was sold at Sotheby's on 12th April 1995, lot 172 (£8,500 hammer).`
A monumental silver African bull elephantdesigned and modelled by Victor Hayton for the World Wildlife Fund, maker's mark for Hamilton and Inches, Edinburgh 1997, signed 'Hayton', limited edition numbered 2 of 5, script '94 and additional markA realistically modelled African bull elephant, naturalistically cast and chased in intricate detail, the powerful animal suspended in motion, with animated expression and powerful polished tusks to the fore, comes with a framed limited edition lithograph bearing the image of the elephant, signed by the artist and certifying this is model number two of only five cast, and inscribed 'Amboseli, June 1993', height 38cm, length 60cm, weight 428oz. (2)Footnotes:Amboseli National Park is part of a vast, cross-border wildlife ecosystem about 200 kilometres south of Nairobi. An oasis supporting over 1,800 elephants and other megafauna in the dusty shadows of Mount Kilimanjaro, it is a UNESCO Man and Biosphere Reserve and the only national park in Kenya established through negotiations with community landowners. The park's African elephants have thrived in this small, semi-arid landscape. Water from seasonal swamps sustains them, and the community lands provide safe and secure spaces to graze. Amboseli National Park therefore offers some of the best opportunities to see African wildlife, because of the sparse vegetation due to the long, dry months. The protected area is not only home to African bush elephant, but also to Cape buffalo, impala, lion, cheetah, spotted hyena, Masai giraffe, Grant's zebra, and blue wildebeest, with a whole host of large and small birds.In the 1990s, this magnificent African bull elephant silver sculpture was purportedly commissioned by the Duke of Edinburgh on behalf of the World Wildlife Fund (WWF). Beautifully executed by the artist Victor Hayton, it is number two out of a limited edition of five made. Given the date of this piece, it is possible (although not confirmed) that this was a representation of 'Tim', the famous great tusker who roamed freely across Amboseli National Park for over 50 years, and was its most famous resident. With his giant stature and spectacular tusks, watching Tim stride out across the Kenyan plains was without doubt a sight to behold, and was a huge draw for the many tourists who visited the Kenyan reserve in the hope of seeing him.Born in January 1969, Tim was four years old when he first came to the attention of wildlife conservation organisations operating in Amboseli. They watched as he grew and became independent, observed him as he reached maturity, and were proud to see him become one of Africa's most famous elephant's, thanks, in part, to his exceptional tusks. Tim was a magnificent bull elephant; one of Kenya's last great tuskers. But it wasn't just his tusks which set him apart from the herd. Amongst those who observed him, he was renowned for his calm and gentle nature, and was popular with other elephants of all ages. He was known to nurture friendships with younger males who were learning to be independent, and was a favourite choice of mate for females, fathering multiple calves over his lifetime. He died of natural causes in 2020, creating global headlines, with the world mourning his passing. The Duke of Edinburgh, way before it became fashionable, carried out pioneering work promoting environmental causes, having encouraged conservation in his singular style throughout his life. His passion for conservation and the environment was best characterised by his long relationship with the World Wildlife Fund (WWF). He toured the world to draw attention to the plight of wildlife endangered by poaching, deforestation and pollution, photographing seals in Antarctica, feeding elephants in Africa and posing with pandas in China. 'We depend on being part of the web of life, we depend on every other living thing on this planet, just as much as they depend on us,' he once reflected. Tim, alongside the other protected African elephants and wildlife at Amboseli, was a testament to what effective conservation could achieve. This symbolic sculpture was purportedly offered to chosen Heads of State to promote the organisation's aims and raise funds, a tool to encourage conservation activism globally (please note, this information is anecdotal rather than verified). As such, His Royal Highness was actively involved with the World Wildlife Fund from 1961 in a variety of roles, from President of the UK branch, to member of the International Board to International President and finally President Emeritus. At the invitation of Sir Peter Scott, the founding chairman of the World Wildlife Fund, The Duke of Edinburgh became President of the Fund's UK Branch in 1961. Between 1965 and 1980 he was a member of the Board of Trustees of WWF International. In 1981 His Royal Highness gave up the UK Presidency and became International President until 1996 when he retired and became President Emeritus.As Pavan Sukhdev, President of WWF International stated on the passing of HRH The Duke of Edinburgh in 2021:-'The Duke of Edinburgh has been a tireless champion for the environmental cause and a passionate ambassador for conservation issues around the world for decades. His Royal Highness helped chart the course of WWF from its very beginning and has truly made enormous contributions to the organization.'Across more than 50 years, His Royal Highness, Prince Philip's efforts on behalf of WWF have been inestimable – visiting WWF projects in over fifty countries on five continents, promoting conservation issues at the highest government and corporate levels, and helping with essential fundraising and awareness promotion...'This imposing silver sculpture of a proud and free roaming African bull elephant symbolises what the World Wildlife Fund represents, and what we need to protect and preserve for future generations.Literature:Born Free Foundation, 'Remembering Tim: 1969 - 2020', accessed via https://www.bornfree.org.uk/articles/remembering-timKenya Wildlife Service, 'Amboseli National Park', accessed via https://www.kws.go.ke/amboseli-national-parkThe Independent, 'How Prince Philip tacked conservation and climate change', 9th April 2021, accessed via https://www.independent.co.uk/climate-change/news/prince-philip-conservation-climate-change-b1829227.htmlWorld Wildlife Fund, 'HRH The Duke of Edinburgh', accessed via https://wwf.panda.org/wwf_news/?1995941/A-champion-for-the-environmentFor further information on this lot please visit Bonhams.com
Two George III silver entrée dishes and covers on Old Sheffield plate warming basesPaul Storr, entrée dishes, the bases London 1810, the covers London 1813, both covers stamped 1 and 3, also stamped with number 1110 and scratch number 5681, bases numbered 1 and 4 and both stamped 470S, handle and calyx on one both stamped 1, the handle and calyx on the other stamped 2 and 4Circular form, with a cast frieze of alternating shells and anthemions in relief, the shaped dome cover with a broad band of quilting, removable acanthus leaf and reed handles with two lion head junctions on a leafy roundel / calyx, the entrée dish bases, with gadroon rims embellished with shell and leaf and anthemion motifs, on Old Sheffield plate two-handled warming bases with removable dish, the part fluted sides with four stiff leaf applications above each of the four ornate bracket supports with paw feet.Each of the covers with engraved armorial and the bases with engraved crests for Hon. Sir Galbraith Lowry COLE (1772-1842) GCB, height 23cm, length handle to handle 32cm, diameter of entrée dish bases 28cm, weight of silver 128oz. (2)Footnotes:This lot comes with copies of two card indexes, these are headed 'Christies 29th November 1972' 'The Worshipful Company of Coachmakers and Coach Harness Makers.' and describe three entrée dishes and covers on plated bases similar to those on offer here.Property of a ladyThe combined engraving represents the complete armorial for Hon. Sir Galbraith Lowry COLE, GCB (1 May 1772 – 4 October 1842) who was an Anglo-Irish British Army general and politician.Born Dublin on 1 May 1772, the second son of the Irish peer, William Willoughby COLE (1736-1803), who in 1789 was created first Earl of Enniskillen, by his wife, Anne LOWRY-CORRY (1742-1802) of Tyrone. On 15 June 1815 he married Lady Frances HARRIS (1784-1847) daughter of James Harris (1746-1820), 1st Earl of Malmesbury by Maria AMYAND (1761-1830). They had issue seven children.Cole was a professional soldier with an impressive military career, being first commissioned a cornet in the 12th Dragoon Guards on 31 March 1787. A lieutenancy in the 5th Dragoon Guards was purchased for him in 1791. He then succeeded to the 70th Foot as a captain in 1792 and a major 1793. He was appointed lieutenant colonel in Ward's late regiment of foot in 1794 and lieutenant colonel in the late General Villette's corps in 1799.On 1 January 1801, the day on which the British-Irish Act of Union came into operation, Cole was promoted colonel in the Army and appointed to command the regiment with which his family was associated, the 27th Inniskillings. He assumed the command at Malta in 1805, and from Malta he proceeded to Sicily and commanded his own regiment and a battalion of grenadiers as brigadier-general. As second in command, he commanded the 1st Brigade at the battle of Maida on 4 July 1806. In 1808 he was promoted to major-general and left Sicily in 1809.During the French Revolutionary and Napoleonic period Cole had served in Ireland, the West Indies, Egypt, Malta, Italy and the Iberian Peninsula. In 1809 Cole asked to be transferred to the Peninsula where he was to gain further distinction when he was given command of the 4th division under Wellington. The 4th division showed its strength at Albuhera where Cole was wounded in May 1811.Cole then left the division and took his seat in the House of Commons, to which he had been elected in 1803 as MP for County Fermanagh. Cole re-joined the Army and command of the 4th division in June 1812, to be present at the great battle of Salamanca in July 1812 when in the attack Cole was shot though the body.On 5 March 1813 Wellington invested Cole with the Order of the Bath (KCB) and promoted to lieutenant general on 4th June 1813.For having served with distinction in the battles of Maida, Albuhera, Salamanca, further successes at Vittoria, Pyrenees, Nivelle, Orthez and Toulouse, he received the Army Gold Cross with four clasps, along with the order of the Tower and Sword of Portugal. Cole was invested as a Knight Grand Cross, Order of the Bath (GCB) on 2 January 1815. Cole missed the Battle of Waterloo on 18 June 1815, much to Wellington's chagrin, because he was on his honeymoon, having married three days earlier Lady Frances Harris. On 15 August, however, Cole joined the army of occupation in France, and commanded the division until the final evacuation of France in November 1818.As well as representing Enniskillen and Fermanagh in Parliament Cole retired this position and went on to also serve terms as 2nd Governor of Mauritius (1823-1828) and Governor of Cape of Good Hope (1828-1833). Cole was one of the few successful Cape governors. Ably supported by Lady Cole, he played a prominent part in social philanthropy in the Cape. Colesberg, a town in the Cape, is named after him, as is Sir Lowry's Pass near Cape Town. Cole was also governor of Gravesend and Tilbury from 1818 until his death.Cole was promoted a full general in 1830. In 1833 he returned home with his family. He settled at Highfield Park, Hampshire where he died in 1842. He was buried in his family's vault at St Macartin's Cathedral, Enniskillen and is commemorated in Enniskillen by a statue surmounting a 30-metre (98 ft) column in Fort Hill Park, carried out by the Irish sculptor, Terence Farrell. Erected between 1845 and 1857, The Cole Memorial Column is a prominent feature of the Enniskillen skyline.For further information on this lot please visit Bonhams.com
WW2 Capt Haworth DSC and Capt Napper MID signed 50th ann Battle of Cape Matapan cover, they were in HMS Formidable and Havock. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Finely modelled to depict a farmer, hat in hand, standing behind two horses pulling a plough beside a tombstone engraved 1842 Orange Fry St Pretoria, the base inscribed to one side with Moke P the Boers 1842, all raised on a marble base45,7cm longIn 1842, Judge W Menzics of the Cape declared the Orange Free State as part of British territory and the subject of the bronze appears to be a commemoration of the demise of the Free State in this year.
The five-lobed disc carved in low-relief with five bats, "wu-fu", in flight around a central aperture, the opaque grey-blue stone with spinach-green inclusions11,8cm diameterPROVENANCE The Robert Siff Collection Stephan Welz & Co In Association With Sotheby's, Decorative Arts and Books, Lot 536, January 20 -21, 1988, Cape TownCONDITION REPORT* Fine overall condition* Minor pitting* Minor fissure lines* Stone untested
The centrally hollowed citron naturalistically carved with a smaller fruit to the side, the leafy gnarled stem forming the base, the curled ends of the "fingers" forming the openwork rim, the softly polished stone of deep celadon tone with russet inclusions, mounted to a hardwood stand8,5cm high excluding stand PROVENANCE The Robert Siff Collection Stephan Welz & Co In Association With Sotheby's, Decorative Arts and Books, Lot 559, January 20 -21, 1988 Cape Towncf Christie's, Online Auction 17417, The Art of China, Winter Edition, Lot 195, 28 November - 5 December, New YorkCONDITION REPORT* Fine condition free from restoration * Fine fissure lines* Soiling
The compressed baluster body rising from a shaped rectangular foot to a conforming flaring neck beneath a beaded concave mouth-rim, the sides applied with an opposing pair of stylised "guei-dragon" handles, the whole under a soft moonlight-blue glaze, the recessed base with a pseudo underglaze-blue six-character Yongzheng mark28,8cm high PROVENANCE:Purchased circa 1940, Cape Town, South AfricaCONDITION REPORT * Fine overall condition free from chips and cracks* Minor restoration to one handle* Minor metallic glaze scratch measuring around 10mm
The pear-shaped body of rectangular section with chamfered corners rising from a splayed foot, subtly moulded on the broad sides with peach-shaped panels, the neck flanked with two opposing elephant-head handles, the straw-coloured body thickly applied with a deep magenta glaze suffused with garnet, mauve and cerulean 20,5cm highPROVENANCEPurchased in the 1980's by the current owner from "The Metal Snake", Long Street, Cape Town, proprietors Hylton Nel and Bernard Wilke CONDITION REPORT* Fine overall condition free from restoration * Minor firing flaw to one corner beneath the mouth-rim* Network of discoloured age cracks predominantly to the interior neck
The rolled circular foot rising to a pear-shaped body, the interior vividly painted perched on a branch in a verdant landscape, inscribed, green hardstone stopper6,7cm highPROVENANCEStephan Welz & Co, Fine Art & Design, Lot 170, July 1-2, 2019, Cape TownCONDITION REPORT* Fine overall condition* Minor age wear* Spoon lacking
digital print with oil and enamel paint on canvassigned and dated 2010 187 by 194cm, unframedBarker has been, and remains, a prolific and active figure on the contemporary South African art scene. The artist’s name is synonymous with rebelliousness and recklessness, which is reflected in his energetic, seemingly aggressive compositions, but also extends to Barker’s personal and artistic identity. Through painting and creating, the artist has explored a nation's history, as well as his own experiences of growing up on a military base in Pretoria in the 60s and 70s in the midst of apartheid South Africa. His response as an artist was an aggressive and rebellious attack on the conservatism that surrounded him. The artist’s iconoclast approach to many of his pieces and his attempts to deconstruct and reinterpret Nationalist ideals has caused controversy on numerous occasions, with many associating him with a dubious sense of morality. Rock ’n’ Roll Church Lady (lot 362) demonstrates the sheer energy in Barker’s large-scale works, made up of gestural, dynamic mark-making and a riot of colour and visual noise. This work was created after the artist’s move to Cape Town, which acted as a catalyst for the emergence of a new body of work titled ‘Rock ’n’ Roll’. This series of works, completed in 2009, was a continuation of those pieces he had been creating in his Troyeville studio in previous years, but had a new energy and focus. “Like the musical genre that gives them their name, they are loud and brash and full of complex harmonies. Their scale is large, often being made up of multiple panels, but they also have an intimacy and quiet parts, as if they are a ballad.†(Brown, 2010: p. 54). This is true of Rock ‘n’ Roll Church Lady (lot 362) which illustrates a sensitivity that borders on the poetic, but which also shows his deep-rooted commitment to the pursuit of truth. The artist’s works have been included in several global biennales, art fairs and exhibitions, and would be a feature in any corporate or private collection. -ACCarol Brown (2010) Threading Through History in Wayne Barker: Super Boring, Stellenbosch: SMAC, p. 54Everard Read, Wayne Barker, Accessed 10 September 2021:https://www.everardread.co.za/artist/WAYNE_BARKER/biography/
The upper section with molded breakfront cornice above a double bank of serpentine fronted drawers flanking a bowfront cupboard and two drawers, the fall front enclosing a shelf and flanked by a pair of angled drawers, the lower section with three long drawers226cm high, 141cm wide, 70cm deepPROVENANCEAccording to the previous owner, this cupboard originally came from the farm Boontjieskraal in the Caledon district.On the inside back of the cupboard various names and the date 1777 are inscribed in pencil. These names possibly relate to Marthinus Theunissen, an official in the service of the Dutch East India Company, who served at the outpost Soetmelkvlei in the district of Caledon, and Conrad Greeve (called Gräbe in the death register of Swellendam), a joiner, resident in 1800 at Warmbath, Caledon. Gräbe came to the Cape from Marburg in Hesse.Sold Stephan Welz and Co in Association with Sotheby's, Cape Town, 22 October 1992, lot 723
The moulded top surmounted by two curved open shelves between scroll-carved supports, canted corners, a pair of panelled doors below enclosing two shelves, on a plinth base, on bracket feet214,5cm high, 120cm wide, 65cm deepLiterature:Baraitser M. and Obholzer A., Cape Antique Furniture, Struik 2004, illustrated on page 346, image 1445
IAN FLEMING - JAMES BOND - A FULL SET OF FACSIMILE JONATHAN CAPE FIRST EDITION BOOKS. A set of fourteen 'facsimile' editions of the Ian Fleming-written James Bond novels, pub 1988 by the 'First Edition Library' in conjunction with Jonathan Cape. Each edition is a faithful reproduction of the original first edition, 13 volumes sealed as new, 1 edition For Your Eyes only unwrapped. (14), (Catagory C).
THE MAJOR GENERAL SIR DENIS PACK K.C.B. (1772 – 1823) SEAL A LATE 18TH CENTURY CITRINE, AMETHYST AND GOLD DOUBLE DESK SEAL The tapered stem of scrolling foliate design, with arched floral chased mount to a rounded square citrine matrix with full armorial, the other similarly formed with a small amethyst matrix with crest engraved Dimensions:Length 3cm, matrices 2.0cm and 1.1cm Note: Note:Major-General Sir Denis Pack was a British Officer in the Napoleonic Wars. He commanded the 71st Regiment of Foot during the capture of the Cape of Good Hope in 1806 and was promoted to Major-General in 1813. He was honoured with as a Knight Commander of the Order of the Bath in 1815 and commanded a brigade of Picton's division at the Battle of Waterloo. His Peninsular Gold medal had seven clasps, only the Duke of Wellington with nine had more clasps to their medal.
▴ Joanna Carrington aka Reginald Pepper (1931-2003)The cat leaping over the cakesigned with initials 'RP' l.r., inscribed 'Tractor & cake 2' verso, oil on board30 x 41cm;the painting was a preliminary sketch for the book 'Pepper & Jam' by Longbody, published by Jonathan Cape, London, 1984, and a copy of the book is included in the lot (2)Provenance: A gift from the artist to the current vendor.Joanna had an excellent start to her creative future; her father was the publisher and designer Noel Carrington, and her aunt the artist Dora Carrington. As a teenager, Cedric Morris was impressed by Joanna's artistic skills when she studied under him at his summer school. She was also tutored by Fernand Léger in Paris and Mervyn Peake and Keith Vaughan at the Central School of Art and Design in London. As her career progressed, the influence of these artists can be seen, including in her cubist still lifes and her landscapes, which express her love for the countryside. Her first solo exhibition was at the Establishment Gallery in 1962 and she had subsequent shows at Crane Kalman, Grosvenor and Thackeray galleries. In 1966, she married her second husband, the artist and film director Christopher Mason. A few years later, after Mason made a film on the naive artist Alfred Wallis, Carrington adopted the pseudonym Reginald Pepper. Pepper was said to be an 'unemployable forty-year-old' who lived with his overbearing mother in a backstreet of Swindon, filled with kitsch carpets and wallpapers and their two giant cats. Pepper's paintings are in a primitive style, where perspective is absent. They tend to be fun and uplifting works, with a childlike nature which was seen to be reflective of Reg's lower mental capacity. In 1974, Carrington showed some works to the Portal Gallery in London and presented herself as his agent. Pepper's true identity was revealed by the Sunday Times in 1981. But this did not adversely affect the public interest in him and, in 1984, Carrington was commissioned to illustrate a children's book 'Pepper and Jam'. If authors could write books under pseudonyms, Carrington felt she should be able to enjoy the freedom of producing two very different styles of art. Reginald Pepper has gained a cult following and collectors of her work will often hang a 'Carrington' and 'Pepper' side by side. For the last twenty or so years of her life, Joanna Carrington and Christopher Mason lived in France. The vendors of this lot had a holiday home close by and became friends with the couple, being gifted artworks.Condition ReportFramed: 35 x 45cm
Star Wars - Kenner - LFL. A Stunning Squadron of Seven loose Star Wars 3.75" action figures with weapons / accessories. The lot includes: Luke Jedi, no saber, slight graze on nose, cape in tact 1983, LFL. Princess Leia Organa in Boushh Disguise, LFL 1983 with helmet and Boushh Rifle. Logray Raised C LFL 1983, Macau and similar. Figures show some signs of light play otherwise appearing to be in Very Good - Excellent condition overall. The originality of the weapons / accessories is untested and unverified by us, buyers need to use the detailed photos to satisfy themselves as to originality and completeness prior to bidding. All items are unchecked for completeness. (This does not constitute a guarantee) [MP]
Sir Robert Peel (1788-1850), prime minister, and others 1830-1902i. Sir Robert Peel (1788-1850), prime minister, free frank cover addressed to Miss Ann Gore, Datchet; London, 24 January 1830; The addressee was probably one of the six daughters of Admiral Sir John Gore of Datchet (1772-1836)ii. Sir Robert Peel (1788-1850), prime minister; letter, in the third person, to H[enry] W[illiam] Johnston; Drayton Manor, Fazeley, 7 June, 1830sDeclines the dedication of the poem which Johnston is about to publish on account of his very slight connection with the Isle of Wight; suggests that it ‘may be inscribed to some of the very respectable gentlemen and very good Conservatives who have long established connection with the Island from property and other local ties’For a letter to HW Johnston from the librarian of the Empress Eugénie, 1854, see Lot 1291iii. George Anson Byron (1789-1868), 7th Baron Byron; panel cut from a free frank cover addressed to Mrs Bayley, Old Elvet, Durham; London, 6 February 1836iv. Samuel Pearsall, Lichfield; letter to ‘Reverend Sir’; the appointment at [Westminster] Abbey does not rest alone with the Dean but in conjunction with the canons who each have a vote; ‘your kind interest will confer a great obligation’; 9 February 1843Samuel Pearsall (c1811-1883) was a Vicar Choral at Lichfield Cathedral, and married Anne Gorton at Lichfield in August 1836. In 1851 he was enumerated, aged 40, professor of singing, at Lombard Street, Lichfield (TNA HO 107/2014/344). The letter may relate to the vacancy created by the death, on 9 January 1843, of Thomas Vaughan (1782-1843), for 40 years a member of the choir of Westminster Abbey, St Paul’s and the Chapel Royal (ODNB).v. Rowland Hill (1795-1879), postal reformer and civil servant, Hampstead; letter to Mr Teulon, ‘I shall certainly vote for [Peter] King and [Charles] Buxton’; 17 November 1868According to Gladstone, Sir Rowland Hill’s great reform of the postal service ‘had run like wildfire through the civilised world; never perhaps was a local invention (for such it was) and improvement applied in the lifetime of its author to the advantages of such vast multitudes of his fellow-creatures’ (ODNB).The Hon. Peter John Locke King (1811-1885) and Charles Buxton (1822-1871) were returned as the Liberal MPs for the Surrey East Constituency in the general election of 20 November 1868.The addressee of Hill’s letter was probably the architect Samuel Sanders Teulon (1812-1873), also a resident of Hampstead, who had designed Shadwell in Norfolk for Lady Buxton and the Buxton Memorial Fountain, to commemorate the role of Charles Buxton’s father in the abolition of slavery, in 1865.vi. Mary [Princess Mary of Teck] (1867–1953), queen of Great Britain and Ireland (signs May); letter to Lady Stanhope, thanking the people of Kent for their wedding present of a row of pearls; York Cottage, Sandringham, 21 July 1893Evelyn Mary Stanhope, née Pennefather, was the wife of Arthur Philip Stanhope (1838-1905), Earl Stanhope, who was serving as Lord Lieutenant of Kent at the time of the wedding. The text of the letter was published in several newspapers in July and August 1893.vii. Postcard, RMS Ortona, Transport Number 12 (illustration), from WLFE, Queenstown, to Miss ME Cadiz, Downside, Maritzburg, Natal, South Africa; 9 October 1902Will wire from Cape Town on arrival; ‘Prince Arthur of Connaught is going with us’With a postcard illustrating Napoleon’s birthplace, Ajaccio, Corsica to Miss Cadiz, St Marks Road, St Helier, Jersey from J Gubb, 17 February, c1905The departure from Southampton of the Ortona, with Prince Arthur of Connaught and his regiment the 7th Hussars, was reported in The Daily News on 8 October 1902; the vessel was to call at Queenstown (now Cobh) in Ireland to embark further cavalry drafts. There was no officer in the regiment with the initials WLFE in 1902. RMS Ortona was launched at Barrow on 19 July 1899 and sunk in the Mediterranean by a German submarine in 1917.
° ° Fleming, Ian - Diamonds Are Forever, 1st edition, remainder copy, outside bound by others in yellow cloth (spine and boards spotted, front board stamped Ex Libris), 8vo, in an unclipped d/j, (leaves trimmed to 182 x122mm, Jonathan Cape, London, 1956; Fleming, Ian - Dr No, 1st edition, 8vo, black cloth, spine with silver lettering, Jonathan Cape, London, 1958 and Amis, Kingsley - The James Bond Dossier, 8vo, cloth with unclipped d/j, Jonathan Cape, 1965 (3)
Quantity of various books on South African flora to include:- Jeppe, Barbara "South African Aloes", Purnell, 1969, collectors edition no.138/250 copies signed by the author, full leather but sadly the backstrip is separating Bailey, Stella (ills) and Bourke, Myles "Badoli the Ox", published by Howard B Timmins, Cape Town, colour ills tipped in with decorated borders, tissue guards, green cloth Letty, Cythna "Wild Flowers of the Transvaal" and other books relating to art to include 'Wild Flowers of the World', 'Hemmingway's Spain', maps of Africa, Millers Collectors Guide 2003/4, etc (2 boxes)
1969 Laverda 750 GT 'American Eagle'Registration no. PFJ 320GFrame no. LAV750 1648Engine no. 750 1648•One of only some 150 made•First registered in the UK in 2021•Most collectible and sought after modelsShortly after the Laverda 750GT went on sale in Europe, McCormack International Motors Incorporated, a vehicle importing business, concluded a deal with the Italian factory to market the model in the USA under the 'American Eagle' brand name. Unfortunately for Jack McCormack, Laverda's 750 twins were soon upstaged by the four-cylinder Honda CB750, which was not only better specified but cheaper too, and only some 150 had been imported when McCormack went bust. With relatively few made and even fewer still in existence, the American Eagle is now one of Laverda's most collectible and sought after models. American Eagle is also famous as having kick-started Evel Knievel's career. The brand sponsored the American stunt rider, who wore a distinctive jumpsuit and cape with the American Eagle logo across the front of his leathers and on his helmet. He used a modified American Eagle 750 to complete several record-breaking jumps, suffering some spectacular crashes. Eventually Harley-Davidson realised the marketing potential and provided Knievel with a Harley-Davidson XR750 for his jumps. This very early US-market American Eagle 750 GT was first registered in the UK on 1st September 2021 and has had one former keeper in this country. Its history in the USA is unknown. There is a video of the machine running, available to view on the Bonhams website. The machine is offered with sundry invoices; photocopied technical literature; suspension instructions; owner's manual/parts list; repair guide; copy online advertisement; and a current V5C document. A 4' round brake light lamp lens is included in the sale.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Apollo 14 Stuart Roosa and Edgar Mitchell signed Lands on the Moon cover PM Cape Canaveral FL Feb 5 AM 1971 32920. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s. The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory. He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career. Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'. (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work.
Irma Stern (South African, 1894-1966)The Yellow Hat signed and dated 'Irma Stern/ 193?' (lower left); bears inscription 'Man in Yellow Hat (1938)' (verso), further inscribed 'Wolpe Gallery' (verso)oil on canvas 65 x 66cm (25 9/16 x 26in).(framed)Footnotes:ProvenanceWolpe Gallery, Cape Town;Sotheby's/ Stephen Welz & Co sale, Johannesburg, 31st October 1988, Lot 221;A private collection. ExhibitedMacFayden Hall, University of Pretoria, (April 1933), no. 24. Lezard's Gallery, Johannesburg, (May 1933), no. 20. Newland's House, Cape Town (19-26 February 1934), no. 24.LiteratureStephan Welz, Art at Auction in South Africa: Twenty Years of Sotheby's/Stephan Welz & Co., 1969-1989, (Johannesburg: A.D. Donker, 1989), p.122Irma Stern's handwriting, given her expressive hand, prevents the date of 'The Yellow Hat' from being clearly legible. The last digit of the date she has inscribed beneath her signature in the lower left corner of the painting is unclear.More clear is an inscription, not in Stern's hand, on the stretcher that includes reference to the Wolpe Gallery and was probably made in the 1960s when Joe Wolpe befriended the artist. The inscription reads 'The Man in the Yellow Hat (1938)'. It is this inscription that seems to have persuaded previous cataloguers to date the work '1938' when it was first brought to market in 1988. In fact, the origin of the painting can be traced with certainty to the beginning of this decade, to 1931 when Stern spent a few months on Madeira on her way to Europe. A drawing that is unmistakably a portrait study for the painting is preserved in the Irma Stern Museum and is clearly dated 1931 (Irma Stern Trust #741). As Stern left Madeira on the Kenilworth Castle in November 1931 the painting is likely to have been at least started before then. She had an exhibition of some of her Madeira work at Foyle's Gallery, London, in January 1932, but it is not known what works were shown because there is no exhibition list preserved in her Scrapbooks at the National Library of South Africa in Cape Town. Nor did the work feature on the list of her first exhibition following her return to Cape Town, at Ashbey's Gallery in November. But it is listed in both her exhibition at MacFadyen Hall, University of Pretoria, in April 1933 (as #24 at 40 guineas), and that at Lezard's Gallery, Johannesburg, in May (#20). And 'The Yellow Hat' was shown at Newlands House, Cape Town, between 19 and 26 February 1934, as #24 again at 40 guineas. Although Stern left the island before the end of 1931, some of her Madeira paintings, for example 'The Fisherman' and 'The Two Harlots', are clearly dated 1932. The last digit of the date on 'The Yellow Hat' may best be explained by imagining Stern completing the work with signature and date while still on the island but revising both the work and the date in 1932 or 1933 after she had returned to South Africa. Stern wrote (in her inimitable style) on 11 October 1931 from Madeira to Roza van Gelderen, her friend in Cape Town, that she was staying in Santa Cruz, on the east coast of the island in 'a delight full fisher village': 'You cannot imagine how interessing [sic] this all is for me. But how I ever can go away from here and feel happy again I do not know – it is so full of beauty and colour and life.'There are indications at other times during her stay that she was not always so happy and even that she might have had some kind of breakdown, but Karel Schoeman is undoubtedly correct in suggesting that Stern used her visit to Madeira to find a new direction in her art, particularly for the role of colour. According to an interview she gave in June 1931, a few months before her stay in Madeira, Stern found the colour scheme of her 'Native Studies', that had been her principal subject up to this time, limited to the browns of African bodies enlivened only by touches of orange, red and green; and that she felt the need to expand her palette, interestingly through the medium of Still Life painting that allowed the distribution of colour accents across the picture surface. And, in 1933, looking back on the time leading up to her visit to Madeira, she stated:'But now a growing absorption in colour theory even to the exclusion of the subject-matter, overtook me to such a degree that for two or three years all my work consisted in studying and building up a new palette. The year 1931 brought me for a few months to Madeira where I was able to harvest the benefits of my recent studies.' The reaction to Madeira expressed in her letter to van Gelderen confirms that she found beauty and colour there. Significantly, she also found 'life' in human figures who were rather less passive than the mode she had devised for her African subjects.'The Yellow Hat' is one of several fisher subjects that Stern exhibited in South Africa in 1933 and 1934. While perhaps not as overtly dramatic as other subjects she recorded in Madeira – such as 'The Hunchback', 'The Blind Boy', 'The Two Harlots', etc. – ocean fishing was seen generally at that time as a heroic occupation representing the idea of human struggle with nature. To capture the implicit drama of these fishermen's lives, Stern returned to her Expressionist roots in her vigorous brushstrokes, loosely defined planes, broken contours, and compressed spaces. All these devices were achieved through a newly energised application of colour. The mood of many of Stern's Madeira paintings is sombre, not to say tragic. But in 'The Yellow Hat' she uses the bright yellow of the large Sou'Wester to introduce a heightened, even fauvist palette as another way to express the exceptional nature of the mariner's heroism. As D.L. wrote in response to the Lezard Gallery exhibition in 'Miss Irma Stern's Exhibition. A Brilliant Modernist', in The Star, May 11 1933, ''Yellow Hat', and several more are not only harmonious in colour, but express the character of their subjects in a way quite impossible by more conventional methods'.We are grateful to Professor Michael Godby for his completion of the above footnote.BibliographyJeanne van Eeden, 'Irma Stern's First Exhibition in Pretoria, 1933', South African Journal of Art History, 13, (1988), pp.89-104.Marion Arnold, Irma Stern, A Feast for the Eye, (Cape Town: Fernwood Press, 1995), passim, for the Madeira works.Karel Schoeman, Irma Stern, The Early Years, 1894-1933, (Cape Town: The South African Library), pp. 99-100.'Irma Stern and her Work', South African Life and the Woman's Forum, (December 7 1933)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Ibrahim Mahama (Ghanaian, born 1987)AJ-10100 (2013/4) coal sacks and mixed media 183 x 213cm (72 1/16 x 83 7/8in).Footnotes:Born in 1987 in Tamale, Ibrahim Mahama has quickly become one of the most exciting contemporary artists to emerge from Ghana. Educated at the esteemed Kwame Nkrumah University of Science and Technology (K.N.U.S.T.) leaving with both a Bachelor in Painting and a Masters in Painting and Sculpture from K.N.U.S.T. Mahama would go onto exhibit at Ghana's first national pavilion at the 58th Venice Biennale in May 2019, and at Documenta 14 in Athens and Kassel in 2017. Additionally, Mahama has also exhibited at the White Cube gallery and created major installation works at Kumasi Railway station, and most recently at the 35th Bienal de São Paulo and Galeria Karstadt Kaufhof. Mahama transforms found materials into structural forms that explore themes of global consumerism, migration, and economic exchange. The present work is representative of the sustained employment of jute sacks within his practice and epitomises the qualities of his most outstanding works. Made in Southeast Asia, the sacks are imported by the Ghana Cocoa Boards to package cocoa beans for export. The used sacks are then repurposed to carry animal feed, coal, and charcoal around the country for domestic consumption. Mahama consequently employs the jute sacks as material metaphors for the global circulation of commodities that pass through Ghana and its associated socio-economic inequities.'My practice has been informed by the possibility of pursuing freedoms after encountering failure, and by employing the contradictions inherent in given conditions. Mundane objects become vehicles through which to test some of these ideas.' (Ibrahim Mahama, 'Notes from the lectures of kąrî'kạchä seid'ou', Labour of Many: Ibrahim Mahama, ed. by Robin Kirsten, (Cape Town: Norval Foundation, 2019).For further information on this lot please visit Bonhams.com
Mawande Ka Zenzile (South African, born 1986)JFK: Historical Painting, 2014 bears a Stevenson gallery label (verso)cow dung, earth and oil on canvas 160 x 281cm (63 x 110 5/8in).(unframed)Footnotes:ProvenanceAcquired from Stevenson Gallery, Cape Town, 2015;A private collection.ExhibitedStevenson Gallery, Cape Town, Mawande Ka Zenzile: Experimentation: All Hell Break Loose, (May- July 2014)Renowned for his cross-media works, Mawande Ka Zenzile obtains a consistent material use of the found or accessible object within his work. Equally consistent are the concepts of politics and history within his work. The present work presents a perfectly synthetisation of the two. In composition and form, the work displays the famous image of the moments after the assassination of President John F Kennedy; his wife Jackie then reaching for their bodyguard over the boot of the car. In using the most humble of mediums, earth and cow dung (amongst oil paint), we can get a sense of Ka Zenzile's interest in the rise and fall of concepts of power. Ka Zenzile explains:'For me, art becomes a space for contemplation where new allegories meet the old ones and out of this fusion I develop different ways to expose how power works in our society and histories'. (Mawande Ka Zenzile quoted in 'Dung and politics: Mawande Ka Zenzile at Stevenson Gallery, Johannesburg', Wallpaper*, (August 22, 2022)).In the same year as this work's creation Ka Zenzile also won the 2014 Michaelis Prize from the prestigious Michaelis School of Fine Art in Cape Town. The artist has since exhibited his work globally.BibliographyMawande Ka Zenzile quoted in 'Dung and politics: Mawande Ka Zenzile at Stevenson Gallery, Johannesburg', Wallpaper*, (August 22, 2022)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Maggie (Maria Magdalena) Laubser (South African, 1886-1973)Storks signed 'MLaubser' (lower right); further inscribed '19' (verso)oil on canvas board 44.5 x 34cm (17 1/2 x 13 3/8in).(framed)Footnotes:ProvenancePurchased by Mrs E Verwoerd at South African Association of Arts Gallery, Cape Town, 1964;By descent to Mrs C Verwoerd, Pretoria;In private collection, Canada;A private collection.ExhibitedCape Town, South African Association of Arts Gallery, Maggie Laubser, (17-27 April 1963), catalogue no.19.LiteratureE.Delmont, Maggie Laubser: the R.A.U. Catalogue Raisonne, Art Look, (Aug./Sept. 1975), no.69.D.Marais, Maggie Laubser: her paintings, drawings and graphics, (Johannesburg, 1994), catalogue no. 1489.For further information on this lot please visit Bonhams.com
Richard Mudariki (Zimbabwean, born 1985)The Battle of Cape Town signed 'Mudariki '12' (lower right); bears a Johans Borman Gallery label (verso)acrylic on canvas 120 x 165cm (47 1/4 x 64 15/16in).(framed)Footnotes:ProvenanceAcquired from Johans Borman Gallery, South Africa, 2013;A private collection. In communicating the social and historical issues relevant to his life, Richard Mudariki creates bright, lively and animated works in a modernist sense. In depiction, Mudariki recalls theatrical techniques used by European Old Masters to present dramatized scenes. Incorporated to evoke satire, Mudariki uses a heavy symbolism to direct a narrative that is engaged with current affairs. Conversely, Mudariki also uses his work to challenge the dated notions of art history and uses his art to criticise the vacuum and canonicity of a seemingly singular art historical narrative.This high energy of The Battle of Cape Town epitomises the talent of Richard Mudariki. In composition, the present work resonates with J.R. Skeltons 1909 depiction of the event, General Janssens at the Battle of Blaauwberg. General Janssens led the defence of the Dutch colonials on the Cape against the British during the Napoleonic war. It could be said that Mudariki takes a surreal approach to the scene by conflating the soldiers with animals, therefore dehumanising and also dramatizing their roles. Indeed, given the bodies of two people on the floor of the work, the artist criticises the colonial history of the Cape and the animalistic inhumane atrocities that occurred.For further information on this lot please visit Bonhams.com
Stanley Faraday Pinker (South African, 1924-2012)Referendum, 1992 signed 'S7Pinker' (centre left); bears a Michael Stevenson & Deon Viljoen label (verso)oil and mixed media on canvas, wood and hardboard142 x 99cm (55 7/8 x 39in).Footnotes:ProvenanceA private collection.LiteratureMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 90. (illustrated)Born in what was then known as South West Africa (modern-day Namibia) in 1924, Stanley Pinker's work strongly embodies the political climate of his cultural context. The artist tackles and confronts issues of socio-politics and its implications and consequences. In the 1950s and 1960s, Pinker travelled to England where the growth of his career would start to bloom. In execution, his works adopt the early 20th century modernism that was popular for the time. Spending a significant amount of time in London, Pinker became strongly influenced by the Cubist movement. The present work is a testament to this early exploration and embodies a study of form, colour, and structure. Referendum (1992) was made in response to a precise event in South African history which took place on the 17th March 1992. This was the day of a whites-only referendum by which 68.6% of voters chose to proceed with negotiations to reform the constitution and therefore lifting the apartheid restrictions. Two years prior to the referendum, the State President, Frederik Willem de Klerk, had first proposed the ending of the apartheid. Capturing the mood of the time, Pinker seizes the feelings of angst and chaos of both sides of the referendum to the top of the piece, external to what could be considered as the traditional main body of the work being the more symmetrical lower half of the work. When addressing his tendency to explore art creation beyond the generic space of a canvas, Pinker commented, 'I've always thought of space as something 'tangible' and have been drawn to artists who have used mural-like space rather than artists who create an illusion of space through perspective'. (Stanley Pinker in Michael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 19.) Beyond the geometrical lower half of the work, Pinker has imbedded relevant symbolism and metaphorical techniques to communicate the contrasting angst of the people. With a colour palette relevant to the symbolism of the event that it being recounted, the small signs reading Yes! bear the colours of the old South African flag, and No! display the colours of the opposition, the ANC (African National Congress). Between the raging white figure, mouth open and with flushed cheeks, and the more demure Black figure with eyes averted to the left, a traditional mask of the Bwa people champions a figure holding an ANC flag and gong baton. Representing a victory of the ANC, the party would go onto govern the country from 1994 under the Presidential direction of Nelson Mandela. The main panel to the lower end of the work situates a different mood; playfully blissful and vibrant in palette and concisely organised in execution. This area of the work bears the intention of representing politicians. Assisted by the more ordered structure of painting, they appear emotionally passive and harmonious in comparison to the chaotic energy of the work outside of this geometrically even board. It is this contrast in mood that evokes a sense of the grandiose ignorance of the three representational birds to the reality of the tumultuous lives of the people prior to the end of the apartheid. This animated and socio-politically conscious work can be concluded as one of Pinker's most striking, cementing itself in a prominent position in his oeuvre.BibliographyMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Travel and exploration GROGAN (Ewart S.) & Arthur H. SHARP. From the Cape to Cairo, 1st edition, 1900, small 4to, half-title, portrait frontispiece, plates and illustrations, 2 folding colour maps (small tears and creases without loss), very slight occasional foxing, advert leaf at end, original pictorial cloth; EASTMAN (George) Chronicles of an Afrcan Trip, privately printed 1927, 8vo, plates, coth backed boards; NANSEN (F) Farthest North, 2 vols., 1898, 8vo, plates and maps, pictorial cloth; one other (5) please note the 2 Bibles previously on the lot images are not part of this lot.
FLEMING (Ian) Thunderball, 1st edition 1961, slightly age chipped dust jacket; The Spy Who Loved Me, 1962, 1st edition 1962, good in dust jacket; From Russia with Love, Jonathan Cape imprint 1957 in pale blue Book Club style binding, lacking dust jacket; another copy with Book Club imprint, in dust jacket; The Man with the Golden Gun, reprint 1979; 6 others - paperbacks, 1960s reprint editions (11)
SELECTION OF GOSS WAREcomprising Boulogne-Sur-Mer vase, New South Wales plate, South African College of Cape Town Tyg, Cambrai oil lamp, Ville De Rouen ancient cooking pot, Tralee Irish bronze pot, Bruxelles Norwegian bucket, Engelberg ewer, Port Elizabeth Ashbourne bushel, St. Helena lidded jar, Vereeniging cooking pot, Egypt jug, Boulogne-Sur-Mer urn, Cape Of Good Hope jug, New Zealand vase, Queensland urn, King Of France tankard, Rhosneiger urn, Malta lidded jar and a South African pin tray
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